Mapping Gothicism in HIV/AIDS Art, and the Importance of Art in Understanding Queer Cultural Trauma: Canadian Perspectives
Bibliographic record
Abstract
The HIV/AIDS epidemic in Canada continues to be a defining moment in queer trauma and cultural production. Since the 1990s, queer academics and theorists have become increasingly interested in how queer people navigate and negotiate trauma. With the establishment of Queer Studies and Gothic Studies, the two fields have been considered complementary both historically and contemporarily. Queer academics and theorists have discovered that queer cultural production continuously evokes gothic themes, tropes, and atmospheres to understand cultural trauma. Previous research primarily focuses on literature, and my research seeks to expand the field into visual mediums. My research is interested in understanding how queer cultural production’s use of gothic tropes in HIV/AIDS has changed throughout the decades and has shaped queer experience in Canada. I collect Canadian HIV/AIDS visual art, filmography, photography, and mixed-media art to conduct a visual and sociopolitical discourse analysis to understand the phenomenological experience of queer people in Canada. My findings unearth significant change in the ways themes of death, ghosts, and haunting are used in HIV/AIDS art, providing a unique insight into the changing phenomenological experiences of queer people in Canada, which are still heavily haunted by temporal and cultural trauma. My research is significant because it unearths new queer knowledge production, showcasing how queer Canadians have created new forms of understanding cultural trauma that resist and challenge mainstream traumatic discourse.
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 | 0.004 | 0.006 |
| Meta-epidemiology (narrow) | 0.001 | 0.001 |
| Meta-epidemiology (broad) | 0.001 | 0.001 |
| Bibliometrics | 0.005 | 0.009 |
| Science and technology studies | 0.049 | 0.030 |
| Scholarly communication | 0.017 | 0.006 |
| Open science | 0.002 | 0.007 |
| Research integrity | 0.002 | 0.005 |
| Insufficient payload (model declined to judge) | 0.009 | 0.000 |
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".