Bibliographic record
Abstract
Situated at the intersection of my past and present art practice, this thesis explores interstitial (or intervening) spaces: a place of “in betweenness,” a place one enters when transitioning from an old life to a new. The thesis addresses the role of memory in my experience of an interstitial space as I was establishing a dual Romanian-Canadian cultural identity in the art world. In my interstice story, I am both actor in and spectator of my quest to reconcile conventional and alternative media and past and present art practice. Ultimately, my quest is one of self-acceptance where I have reshaped my artistic identity in the contemporary milieu. My thesis exhibition includes ten sculptures in varied sizes, including self-portraiture. These sculptures use two approaches to reveal metaphoric alterations of my inner self. The first approach is formal, depicted through realistic clay portraiture. The formal approach speaks to my skills in academic methods learned in art schools in Romania. These methods are seen in my manipulation of the material and in the figurative aspect of the work. The second approach is more conceptual, revealed in recyclable clay, wooden scraps, and found objects that indirectly allude to consumption. This approach uses memory and dual identity to reveal the investigation of the self-persona and to create an imaginary link between my past and present art practice. For instance, Objects-Talismen bring emotions and familiarity from the past into the present, reconnecting my current life with my former life. In one sculpture, called I am Ro-maniac: Refilling my Memories, I am represented as a humorous figure with a funnel protruding from its head. The funnel speaks to my need to refill my memories—to never forget where I came from. Another sculpture, The Self-(Re) Built from Scraps, alludes to layers of memories that comprise who I am. My “interstitial place” is a transitional space where I have struggled to repossess my identity in dislocated circumstances and where I have grown to understand this new identity situated between two art worlds, between past and present, between old and new.
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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 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.001 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.005 | 0.003 |
| Scholarly communication | 0.009 | 0.008 |
| Open science | 0.002 | 0.007 |
| Research integrity | 0.002 | 0.003 |
| Insufficient payload (model declined to judge) | 0.253 | 0.075 |
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".