Bibliographic record
Abstract
The campus: a place of learning and aspiration, or disenchantment and revolt? This exhibition explores the unique environment of university campuses, looking at their recent past and ideas surrounding their future. Canadian artist Nancy Davenport has produced Campus, a series of digitally-manipulated photographs, shot at universities in the USA and Canada. Presenting melancholic scenes of ‘New Brutalist’ architecture, embraced as revolutionary after the 1968 student uprisings, these structures now seem fortress-like. Incorporating unreal lighting effects, the works evoke an uneasy tension between optimism and aftermath. Also shown is Davenport’s video piece Weekend Campus, a slow horizontal pan along the entrance to a fictitious campus, jammed with stalled cars, accidents and witnesses. This continuous loop, constructed from hundreds of still photographs, pays homage to Jean-Luc Godard’s apocalyptic film ‘Le Week-end’. Jakob Jakobsen and Henriette Heise from the Copenhagen Free University present Five Theses on Taking Power Without Becoming Government, a large-scale sound installation. A mountain of amplified concert speakers broadcast a spoken statement, almost inaudible amid the hum of feedback, proffering ideas on what it means to create a self-organized University. The speakers embody the huge potential for knowledge and power existing in everyday life. Copenhagen Free University is an artist-run, self-organised institution that works with collective, non-exclusive forms of knowledge. Swiss artist Christian Philipp Müller presents a series of silkscreen prints, The Campus as a Work of Art, completed for the University of Lüneburg in Germany. Each work features an architectural plan of the Lüneburg campus (a former military barracks), superimposed above campus plans from other Universities worldwide. Grouped according to common social or spatial features, these works dramatically explore the relationship between architecture and institutional identity
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 | 0.002 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.003 | 0.001 |
| Scholarly communication | 0.009 | 0.005 |
| Open science | 0.001 | 0.006 |
| Research integrity | 0.002 | 0.002 |
| Insufficient payload (model declined to judge) | 0.563 | 0.350 |
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".