Bibliographic record
Abstract
Adaptation is an installation that offers a view of the Anthropocene. Through collage sculptures composed from glossy coffee table nature photography books found at Saskatoon’s used book sales, I critique the human tendency to commodify the natural world. Some of these books depict scenes and creatures from tropical locations, and some depict flora native to North America. I morph these images with sculpting, collage, and paper cutting to create bizarre transformations that reflect the chaos of human intervention in nature and the mayhem caused by insatiable human curiosity. I transform the flowers of North America into fantastical hybrid creatures that levitate above the ground; I merge tropical fish and coral into alien bodies that are both alluring and grotesque; I encourage rainforest animals and vegetation to cross pollinate and mutate into unique and sometimes malicious species. As I light the precarious sculptures, I create an alternate world on the walls and floor of the gallery, and through the dramatic shadows, the creatures mutate further as their silhouettes shift and dance. I slice through the collage surfaces with lace like cut-out patterns that sometimes organically follow the veins of the creatures, like the consumptive trail left behind a caterpillar munching on a leaf, and sometimes appear as geometric designs. On the one hand, the cut-outs aesthetically enhance these figures, but they also weaken them, making them vulnerable, structurally weak, frail and delicate, much like the impact of many of our human processes upon the natural environment. By combining these sculptural collages with everyday materials as props, I compose an environment that mirrors the landscape of the Anthropocene. It is an environment cobbled together from native, introduced, and invasive species. Adaptation beckons the viewer to question the line between what is natural and what is the product of human intervention.
Fetched live from OpenAlex and de-inverted. Abstracts are not stored in this database: the inverted indexes are 8.6 GB of the frame’s 9.3 GB of text, and the host has 13 GB free.
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 | 0.004 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.001 | 0.001 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.003 | 0.001 |
| Scholarly communication | 0.006 | 0.004 |
| Open science | 0.002 | 0.007 |
| Research integrity | 0.002 | 0.003 |
| Insufficient payload (model declined to judge) | 0.459 | 0.188 |
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".