Forging the corporate identity with art : four Montreal corporations : Alcan Aluminium Limited, Martineau Walker, Banque Nationale du Canada, Loto-Quebec with a focus on Alcan
Bibliographic record
Abstract
This thesis examines why and how art is collected and used by modern corporations. Primarily, the study is focused on Alcan Aluminium Ltd., but for purposes of comparison and illumination, substantial attention is paid to Martineau Walker, Loto-Quebec and the Banque Nationale du Canada, all Montreal-based companies that have collected art for at least twenty years. An historical introduction outlining the relationship between the arts and business---from the Renaissance in Europe to its place of greatest expansion in the nineteenth and twentieth centuries; in the U.S.A. as well as in Canada---begins the discussion. An attempt is made to position the activities of modern corporate art collecting between two poles---that of the individual collector and that of the institutional art museum. Motives for collecting include, among many, the search for distinction and the desire to create a perception in the community of humanitarian standards guiding the corporation. The ways in which corporate motives contribute to the creation of a positive external corporate art identity, and thus a productive business environment, are examined and developed, as are the principal objections of their chief public detractor, artist-writer Hans Haacke. In three of the four corporations studied, original research on the behavioural and emotional reactions of employees to the corporate art surrounding them has allowed an in-depth analysis of the internal effects of art on employees. Foremost among these are feelings of pride, well-being and the enhancement of self-identity. Finally, a brief discussion of the role of mediators is offered, in particular that of the corporate curator in the modern art world.
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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 | 0.002 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.003 |
| Science and technology studies | 0.022 | 0.008 |
| Scholarly communication | 0.007 | 0.002 |
| Open science | 0.001 | 0.003 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.005 | 0.000 |
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".