Bibliographic record
Abstract
'I am a future ghost. I am getting ready for my haunting'. So promise Eve Tuck and C. Ree in their 'A glossary of haunting,' where they reflect on the political utility of haunting for 'ceremony, revenge, and decolonization' (in Stacy Holman Jones, Tony E. Adams and Carolyn Ellis (eds) Handbook of Autoethnography, Walnut Creek: Left Coast Press, pp 648, 640); but this claim to be a future ghost could have just as easily been made by any of the characters, human or inhuman, populating Marie Clements's Burning Vision (2003). While Burning Vision is celebrated as a work of environmentalist and Indigenous theatre, minimal critical attention has been paid to the play's haunted natures. The play traces the material history of uranium ore originating deep underground Satuh Dene territory near Great Bear Lake in the Northwest Territories of Canada, tracking the uranium's journey from its 'discovery' by white prospectors in the 1930s, travel to the Earth's surface via an intermingling of white and Dene miners, voyage across the waterways of the Northwest Territories, transformation into atomic power in New Mexico, and instrumentation of mass death in Hiroshima and Nagasaki in 1945. The radioactive material haunts, not like a ghost but as a ghost, theatrically animating how: 'Our ghosts are the traces of more-than-human histories through which ecologies are made and unmade' (Ann Tsing, Heather Swanson, Elaine Gan and Nil Bubandt (2017) Arts of Living on a Damaged Planet, Minneapolis, MN, University of Minnesota Press, G1). Bound together by their mutual contamination by the radioactive (and radio-active) ghosts, the characters of play too become spectral, intra-acting with one another as ghosts of the past and spectres of the future. In this article, I explore the use of haunting as a dramaturgical device in Burning Vision, and suggest that as theatrical haunting prompts us to pay attention differently to the interrelations of the spectral and material, it offers altered modes of performing the future.
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 | 0.003 | 0.008 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.009 | 0.008 |
| Scholarly communication | 0.007 | 0.006 |
| Open science | 0.001 | 0.008 |
| Research integrity | 0.003 | 0.005 |
| Insufficient payload (model declined to judge) | 0.042 | 0.013 |
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".