Indigenizzazine e indigenitudine
Bibliographic record
Abstract
Il mondo dei musei, e più in generale del patrimonio, in Canada rappresenta un ottimo punto di vista per osservare il processo di costruzione di quella indigenità contemporanea che James Clifford (2023) vede come indigènitude: la riscoperta delle tradizioni in nome di un pan-indianismo. L’indigenitudine è performata in contesti diversi ed è veicolata da un repertorio di temi e immagini condivise: la madre terra, la sovranità, la saggezza degli anziani etc. I musei e più in generale il patrimonio sono luoghi di questa performance, anche attraverso quelli che si chiamano «processi di indigenizzazione» e l'apertura dei cosiddetti «musei tribali». Il processo di costruzione di una indigenità contemporanea in Canada, osservato da una prospettiva patrimoniale, è tuttora in corso e, sebbene molto giovane, ha già attraversato varie fasi. In questo articolo si ripercorrono i momenti salienti di questo movimento per soffermarsi sul processo di indigenizzazione di una prestigiosa istituzione privata a Montreal: il McCord Stewart Museum. The world of museums, and more generally of heritage, in Canada represents an excellent viewpoint to observe the process of construction of that contemporary indigeneity that James Clifford (2023) sees as indigènitude: the rediscovery of traditions in the name of a pan-Indianism. Indigeneity is performed in different contexts and is conveyed by a repertoire of shared themes and images: mother earth, sovereignty, the wisdom of the elders, etc. Museums and heritage more generally are sites of this performance, including through what are called «indigenization processes» and the opening of so-called «tribal museums». The process of constructing a contemporary indigeneity in Canada, observed from a heritage perspective, is still ongoing and, although very young, has already gone through various stages. In this article, the highlights of this movement are retraced in order to focus on the indigenization process of a prestigious private institution in Montreal: the McCord Stewart Museum.
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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 | 0.002 | 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 | 0.010 | 0.013 |
| Scholarly communication | 0.008 | 0.002 |
| Open science | 0.001 | 0.005 |
| Research integrity | 0.002 | 0.006 |
| Insufficient payload (model declined to judge) | 0.012 | 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".