Bibliographic record
Abstract
The significance of Stadium lies in its critical interrogation of the legacy, use and infiltration of historical socialist imagery in contemporary imaging. The work is filmed in the Olympiastadion in Berlin, the infamous site of Leni Riefenstahl's 1936 film Olympia. The work takes the buildings history and form as a starting point for an analysis of the modern idea of “mass” (Kracauer), the fascist conception of “crowds and power” (Canetti) and contemporary digital techniques of replication and multiplication in the virtual worlds of the web, computer games or the Hollywood film industry. Stadium has been exhibited in international museums and publicly funded galleries including; the The Musée d'art contemporain de Montréal –with a monograph catalogue; CONTACT, Toronto International Photography Festival, 53 Art Museum, Guangzhou, China. The originality of Stadium lies in its exploration of the effects of choreographies of mass spectacle on the imaginary and the political discourse. In ‘The Mass Ornament’, Kracauer speaks of mass performances as cultural manifestations of capitalism’s negation of the individual. The opening ceremony at the 2008 Olympics in Beijing was a recent example. The idea of the mass ornament is echoed throughout Stadium where rhythmic repetitive gesture, anonymity and abstraction are recurring strategies. If Kracauer saw these staged events as “the aesthetic reflex of the rationality to which the prevailing economic system aspires,” Stadium asks how are we to view representations in our own post- capitalist society where, more than negated, the individual is rendered virtually obsolete? Rigor is evident in the use of a combination of footage including 3D animation and techniques favoured by Riefenstahl, such as crane shots, long circular travelling shots and low-angles. The resulting footage exhibits the persistent legacy of representations of power and control in photography and cinema all the way up to contemporary imaging from video games to epic films. “Stadium” was funded by the Conseil des arts et des lettres du Québec and the Künstlerhaus Bethanien, International Studio Program, Berlin.
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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 | 0.002 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.002 | 0.002 |
| Science and technology studies | 0.002 | 0.000 |
| Scholarly communication | 0.003 | 0.002 |
| Open science | 0.001 | 0.003 |
| Research integrity | 0.001 | 0.001 |
| Insufficient payload (model declined to judge) | 0.278 | 0.065 |
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".