Why this work is in the frame
A frame that forgets how it found something cannot be audited. These are the routes that admitted this work.
Bibliographic record
Abstract
Peaches is pop, she is feminism and she is performance, she is pleasure and danger as well. Her work has the incredible ability to condense the long path traversed by the body as representation and the evolution of feminist thought and action. Her proposal refreshes the paradoxes present within the normalization of sexuality and thanks to that, some of them, the most obvious ones, find a new place within performative practices. Hers is a complex discourse that shares elements and stereotypes with a divergent popular imaginary and which through experience ends up reflecting on the most academic side of the theory of feminism and its own “cuts”, cracks or contradictions. The three video clips by the canadian artist, Peaches, that we analyse here, serve as an example to point out the capacity that art has to open the semiotic discourse, addressing the most fundamental problems of the sex-political formulation. As Beatriz Preciado (2007) said, the new feminism is playful and reflexive, it is post-porno, punk and transcultural.; Peaches es pop, ella es feminismo y es performance, también es placer y es peligro. Su trabajo tiene la habilidad espectacular de resumir un largo camino recorrido por la representación del cuerpo y por la evolución del pensamiento y de la acción feministas. Su propuesta refresca las paradojas presentes en la normalización de la sexualidad e incluso las más evidentes acaban encontrando su lugar, a través de las prácticas performativas. Es un discurso complejo que comparte elementos y estereotipos con cierto imaginario popular divergente y que a su vez reflexiona con experiencia la teoría más académica del feminismo y sus grietas o contradicciones. Los tres videoclips de la artista canadiense Peaches aquí comentados, sirven como ejemplo para señalar la capacidad que tiene el arte de abrir el discurso semiótico, atajando hacia las problemáticas más fundamentales de la formulación sexo-política. Como Beatriz Preciado (2007) dijo, el nuevo feminismo es lúdico y reflexivo, es posporno, punk y transcultural.
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.
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.001 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.001 |
| Science and technology studies | 0.002 | 0.000 |
| Scholarly communication | 0.001 | 0.001 |
| Open science | 0.001 | 0.000 |
| Research integrity | 0.000 | 0.001 |
| Insufficient payload (model declined to judge) | 0.000 | 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 it