Native North American arts in Hastings Museum; the Colin F. Taylor and Edward Blackmore collections
Bibliographic record
Abstract
The thesis engages with the Native North American collection at Hastings Museum and Art Gallery (HMAG) in Hastings, England. These collections reflect the personal interests of Taylor and Blackmore, two Native American hobbyists inspired by Ernest Thompson Seton, James Fenimore Cooper, and Buffalo Bill’s Wild West. Blackmore’s objects were collected by himself and through a friendship with travel writer and sculptor, Clare Sheridan. Colin Taylor, a physics tutor, became an eminent authority on Native American material, building relationships with the British Museum and HMAG. This collection also contains Inuit material collected by the Callander Missionaries in Labrador. Taylor was also co-founder of the Grey Owl Society, which existed to reinforce Grey Owl’s message of conservation. This thesis will offer a revised perspective on HMAG’s collection, bringing together previously unexamined material from the Native North American collection and the Grey Owl Society archives. This thesis utilises a case study format which engages with objects that represent specific threads within the collection. These case studies are developed to interrogate the Indigenous materiality and life histories embedded within the objects. The traditional modes of colonial collecting are examined through objects like Iron Tail’s Eagle Feathered Headdress and a pair of Inuit moccasins. Secondly, Blackmore’s paintings and homemade objects allow for an exploration of the impact of Indian hobbyists in this collection. Thirdly, material relating to Grey Owl and the Grey Owl Society re-examines the longstanding connection between Grey Owl’s legacy and the museum. Finally, an exploration of the gallery spaces at HMAG reveal the contemporaneous issues facing HMAG. HMAG’s response to these issues are detailed. As such, this thesis contributes original art historical research by exploring a little discussed, yet culturally significant collection of objects and archival material which contextualises Indigenous material in British museums.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.003 |
| Meta-epidemiology (narrow) | 0.001 | 0.001 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.002 | 0.004 |
| Science and technology studies | 0.012 | 0.003 |
| Scholarly communication | 0.006 | 0.002 |
| Open science | 0.001 | 0.005 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.168 | 0.019 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".