Bibliographic record
Abstract
Continuing the consistent theme of Lewis’ research into the interrelationships between painting, the picturesque and cinema, ‘Forte!’ inducts the viewer into a mode of spectatorship characterised as ‘looking’ rather than ‘watching’ - attentive to the image in itself rather than as a simple vehicle for plot development. Lewis’ works explore what he has described as "the ‘bits’ of cinema"; in ‘Forte!’ it is the establishing shot, or more evocatively the opening sequence. Commissioned by Forte di Bard, Italy, the work plays on the double meaning in the title – both a reference to the work’s explicit subject matter (the 17th Century Alpine Fortress) and the implicit effect at which the motion picture camera excels – the mobile, and in this case ‘disembodied’ aerial, view. Across a landscape charged with the status of a national border yet one partially hidden beneath snow, the helicopter mounted camera leads the viewer into a gripping but inconclusive narrative. The work’s similarity to the opening of Kubrick’s ‘The Shining’ is striking and plays some part in the work’s ability to draw in and hold the attention. In doing so, the work presents the viewer with a cinematic trope as a subject in itself, making something that would otherwise be understood as a neutral or transparent technical process something strange, complex and meaningful in its own right. Originally exhibited at Forte di Bard, the work has subsequently been screened at Centre Pompidou, Paris (2011) and in group exhibitions ‘Big Picture’ at K21 Dusseldorf (2011), ‘MärklinWorld’, KAdE Amersfoort, Netherlands (2012), ‘The View from Above’, "Centre Pompidou-Metz (2013). ‘Forte!’ has also been exhibited in solo exhibitions at Kunsthalle Winterthaur, Switzerland (2011), Art Gallery of Hamilton, Ontario (2012), and Van Abbemuseum, Eindhoven (2013).
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 | 0.000 | 0.001 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.003 | 0.001 |
| Scholarly communication | 0.005 | 0.003 |
| Open science | 0.001 | 0.003 |
| Research integrity | 0.002 | 0.002 |
| Insufficient payload (model declined to judge) | 0.489 | 0.263 |
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".