Bee Dreaming: the Surreal Odysseys Behind Alan Glass’ Wunderkabinetts
Bibliographic record
Abstract
The retrospective exhibition of Alan Glass' surrealist constructions, boxes, collages, assemblages, and paintings opened at the Museo de Arte Moderno in Mexico City in November, 2008.The works' magical worlds, exquisitely wrought within his Wunderkabinetts and Wunderkammers, continued to enchant visitors through April, 2009.The exhibition confirmed Alan Glass' inclusion in the international lineage of important surrealist artists living and working in the Americas.Glass' art studies, visionary quests, and surrealist wanderings have taken him from Montreal to Paris and on to Mexico City, where he ultimately took up permanent residence and has lived since the sixties, receiving his Mexican citizenship in the spring of 2009.Born in Montreal in 1932 and student of the painter Alfred Pellan, Glass was awarded a scholarship from the French government to study art in France in 1952.Thus began his pilgrimage in search of rare objects from realms of the Marvelous.He supported himself in Saint-Germain-des-Prés in Paris by working in jazz clubs.He experimented with the newly issued Bic ballpoint pen for his automatic drawings.He became the first artist to employ the Bic pen for these innovative works, which were immediately discovered and praised by the Surrealists.In 1957 he traveled to Berlin, Dresden, Prague, and then returned to Paris.Having left his address in the visitors' book at L'Étoile Scellée gallery, the young Jacques Sennelier from the surrealist group paid Alan a surprise visit; upon seeing the drawings pinned on the wall, he insisted that Breton see them.He then took Glass to Rue Fontaine to meet André Breton and his wife, Élisa.They quickly organized an exhibition for Glass in 1958 at the gallery of the editor, Eric Losfeld, Le Terrain Vague, in Paris.It was at this exhibi-
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 | 0.001 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.011 | 0.007 |
| Scholarly communication | 0.005 | 0.003 |
| Open science | 0.001 | 0.004 |
| Research integrity | 0.001 | 0.004 |
| Insufficient payload (model declined to judge) | 0.014 | 0.002 |
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".