re:mote auckland :: sally jane norman
Bibliographic record
Abstract
Sally Jane Normans presentation for re:mote auckland (http://www.remote.org.nz) pre-recorded at Newcastle. Sally Jane Norman Director, CultureLab, University of Newcastle http://www.ncl.ac.uk/niassh/culturelab/ http://www.ncl.ac.uk/niassh/culturelab/sjn.htm Doctor Norman's research spans performing arts, cultural theory, and technology. She has served many organisations dedicated to transdisciplinary research, including the Daniel Langlois Foundation in Montreal, the "Vida" Artificial Life Competition organised by Telefonica in Madrid, the Scientific Council of the Fine Arts Division of the French Ministry of Culture, and the Hexagram Creation and Research Committee in Montreal. Sally Jane Norman was born in Aotearoa/ New Zealand in 1953, where she studied music and dance, and earned Bachelor and Master of Arts degrees from the University of Canterbury. She pursued her research in Paris with a Doctorat de 3ème cycle (PhD) at the Institut d'Etudes théâtrales, Université de Paris III (1980), and a Doctorat d'état ès Lettres et Sciences humaines (1990). Parallel to French and English publications including studies for UNESCO and the French Ministry of Culture, Doctor Norman has run live performance workshops with digital tools at the International Institute of Puppetry in Charleville-Mézières, Studio for Electro-Instrumental Music (STEIM) in Amsterdam, Zentrum für Kunst und Medientechnologie (ZKM) in Karlsruhe, and European Festival of Digital Creation in Valenciennes. She organised the 1992 New Images and Museology Conference at the Louvre, and co-organised STEIM's 1998 TOUCH Festival and Symposium in Amsterdam, and IRCAM's Dance and Technology session at the 2003 Resonance Festival. Doctor Norman worked on EU R+D projects at the ZKM from 1996-1998 and became Director of the Angoulême site of the Ecole supérieure de l'image (ESI) in 1999. Nominated Director General of the school's two sites (Angoulême/ Poitiers) in 2001, she launched ESI's pioneering Digital Arts Doctoral Programme. re:mote auckland re:mote: auckland was the first in a series of one-day experimental festivals, bringing together new media art practitioners and theorists from Europe, Japan, Australia and New Zealand to discuss the theme of remoteness and technology. re:mote: auckland featured on-site, online and pre-recorded presentations analysing the way that digital technologies can augment collaborations across geographical and cultural distance. Artists and commentators from London, Newcastle, Helsinki, Rotterdam and Sydney gave presentations of their work via live video stream to an audience in Auckland. Presenters from around New Zealand also attended in person to share their work. re:mote is to be an ongoing series of events, which will take place at locations around the world. re:mote: auckland was the global premiere of this series. re:mote explores questions like: what does it mean to be remote in an electronic art world? Are there 'centres' and 'peripheries' within a world increasingly bridged, criss-crossed and mapped by digital technologies? Can technologically mediated communication ever substitute for face-to-face dialogue? Is geographical isolation a factor in contemporary art production? Is remote a relative concept? The keynote presentation was from Japanese artist, radio pioneer, and lecturer, Tetsuo Kogawa, who travelled to Auckland especially to present at re:mote, on the topic of technology and the body. He also performed with and demonstrated micro fm transmission. re:mote: auckland took place on Saturday March 19, 2005, from 10am to 7pm at the Elam School of Fine Arts lecture theatre. Introduction by Honor Harger. re:mote is organised by r a d i o q u a l i a and ((ethermap
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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 | 0.005 |
| Meta-epidemiology (narrow) | 0.001 | 0.001 |
| Meta-epidemiology (broad) | 0.001 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.004 | 0.001 |
| Scholarly communication | 0.005 | 0.004 |
| Open science | 0.001 | 0.004 |
| Research integrity | 0.003 | 0.004 |
| Insufficient payload (model declined to judge) | 0.671 | 0.468 |
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".