The Colour of My Dreams: The Surrealist Revolution in Art
Bibliographic record
Abstract
The Colour of My Dreams," the exhibition of surrealist art on display this summer at the Vancouver Art Gallery, was an extraordinary exhibition both for the quality of its loans and for the way the exhibition was conceived.Its guest curator, Dawn Ades, used the opportunity to rethink how an exhibition of surrealist art can be organized and displayed, and the results are both engaging and instructive.The exhibition included works by famous and unknown artists, which were clearly chosen for their intrinsic interest as objects and for the dialogue that was staged between them in the installation of the exhibition, rather than for their iconic status as famous images (though it should be said that several of the works, such as Giorgio de Chirico's The Child's Brain, Max Ernst's Pietà or Revolution by Night, and Salvador Dalí's Gala and the Angelus of Millet Immediately Preceding the Arrival of the Conic Anamorphoses, are quite well-known).The exhibition was organized thematically rather than chronologically, with sections focused on automatism, games, and the surrealist object, as well as on the use of space in surrealist imagery, the surrealist preoccupation with eros, and the surrealists' interest in and relation to indigenous arts and beliefs, among other themes."The Colour of My Dreams" was not so much a critique of Surrealism or of surrealist art as a productive look at what might be of value in surrealist approaches to image-and object-making for contemporary audiences.It was a kind of thinking through the exhibition about a subject that has occupied Ades now for some forty years.While this would have been an extraordinary exhibition in any city, the section devoted to the relation between indigenous arts and Surrealism was the one with the most concrete links to the Northwest Coast location of the exhibition, given
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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) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.002 |
| Science and technology studies | 0.009 | 0.011 |
| Scholarly communication | 0.016 | 0.008 |
| Open science | 0.001 | 0.004 |
| Research integrity | 0.002 | 0.005 |
| Insufficient payload (model declined to judge) | 0.097 | 0.011 |
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".