Enigmatic assemblages: Follies at the intersection of architecture and photography
Bibliographic record
Abstract
Hyperreal architectural photographic assemblages proliferate within contemporary media: artists, photographers and architects envision digital worlds that operate at the intersection of hyperreal architectural renders, artistic media and photography. The manifestation of these assemblages can be examined in the works of French artist Zacharie Gaudrillot-Roy (1986–), and Canadian artists Carl Zimmerman (1951–) and David Trautrimas. \n \nGaudrillot-Roy’s assemblages from the series Façades #3 interrogate the notion of architectural form, how buildings impose and connect with their environments. The photographs present the buildings in a superficially twilight aesthetic; the viewer’s immediate glance registers a possible reality, but a second glance confirms the flattened buildings can only be a discourse on the enigmatic notion of spatial qualities. Zimmerman’s photographic practice questions the notion of imagined environments by using the mechanism of the folly or ruin within a utopian world. In contrast, Trautrimas’s assemblages use pastiche, montage and collage to extend on both Zimmerman’s and Gaudrillot-Roy’s images, creating surreal utopian possibilities that transform an actuality by creating and manipulating spatial qualities, redefining how we conceive and perceive space. \n \nThese pluralistic assemblages draw insights and multiple narratives, as digital architecture has become pervasive and ubiquitous in the search for spatial properties. Unique and enigmatic narratives are constructed, allowing investigations to further the Deleuzian concept of ‘assemblage’ (in French, agencement). This paper aims to shed light on how this contradiction is a central engine for the articulation of relevant discourses and narratives, which have a significant impact on contemporary spatial conception and practices, and push the creative research beyond the limits of the mere superposition that one experiences daily with the digital augmentation of reality.
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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 | 0.007 | 0.007 |
| Meta-epidemiology (narrow) | 0.001 | 0.001 |
| Meta-epidemiology (broad) | 0.001 | 0.001 |
| Bibliometrics | 0.005 | 0.003 |
| Science and technology studies | 0.030 | 0.084 |
| Scholarly communication | 0.019 | 0.021 |
| Open science | 0.001 | 0.014 |
| Research integrity | 0.004 | 0.008 |
| Insufficient payload (model declined to judge) | 0.007 | 0.001 |
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".