Revolutionize me (and you, and you, and you)
Bibliographic record
Abstract
Playing off the popular 2004 film Supersize Me, which followed filmmaker Morgan Spurlock’s thirty- day fast food diet, the catalogue Decolonize Me (Ottawa Art Gallery, 2012) inverts the passive stance uncovered by Spurlock’s exploration of North American consumption habits and calls on indigenous artists, writers, and activists to determine their place in contemporary society by decolonizing its institutions and methodologies. Heather Igloliorte (Inuit), an assistant professor of art history at Concordia University in Montreal, curated the exhibition, which featured the work of six indigenous artists: Sonny Assu (Ligwilda’xw), Jordan Bennett (Mi’kmaw), Cheryl L’Hirondelle (Métis/Cree/German), Nigit’stil Norbert (Gwich’in), Barry Pottle (Inuit), and Bear Witness (Cayuga). The catalogue presents the work accompanied by the artists’ statements in English, French, and the artist’s traditional language alongside essays by Igloliorte, Australian curator and writer Brenda Croft (Gurindji/Malngin/Mudpurra) and curator and art historian Steven Loft (Mohawk). \n \nA rarity some twenty years ago when both the National Gallery of Canada and the Canadian Museum of Civilization presented Land Spirit Power and Indigena as critical responses to the Columbus quincentenary, exhibitions of contemporary art by indigenous artists have become regular features of Canadian public art galleries. Yet, such “soft” inclusions—to use the words of Lee-Ann Martin and Lynda Jessup—have not resulted in the revision of institutional practices that would produce the systemic changes necessary to begin decolonizing art institutions (i.e., curatorial departments, regular acquisitions, training, and revision of collecting mandates). While the artists included in Decolonize Me might be familiar from recent exhibitions, the catalogue essays bring a resoundingly critical perspective on the state of contemporary indigenous art in the twenty-first century.
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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 | 0.002 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.009 | 0.008 |
| Scholarly communication | 0.009 | 0.004 |
| Open science | 0.001 | 0.004 |
| Research integrity | 0.002 | 0.003 |
| Insufficient payload (model declined to judge) | 0.040 | 0.010 |
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".