Performing cities: The performance and politics of place: Mexico City, New York, Montreal
Bibliographic record
Abstract
“Performing Cities: The Performance and Politics of Place: Mexico City, New York, Montreal” offers scholars interested in the relationship between performance and the city new strategies for reading the aesthetics and politics of performances that produce urban place. It is the first extended study venturing a taxonomy of ways in which we can understand the performance-city relation, advancing acting, ritualizing, and dramatizing as vital ways in which cities materialize through performance. With attention to cultural performances (or performances that occur beyond the frame of the theatre), “Performing Cities” uses a performance studies approach to consider the role of performance in producing urban place during and after moments of major economic transition.Chapter One looks at how the Mexican state used modernist design to activate an industrializing Mexico City as an ‘actor’ of modernity on the world stage at the Mexico ‘68 Olympics. Chapter Two considers New York’s vibrant disco scene of the 1970s as a ritual response to the city’s fiscal and social crisis in the wake of massive suburbanization and deindustrialization. Chapter Three examines Montreal’s contemporary burlesque revival scene in the context of an official creative city development policy, reading both creative city development and the burlesque scene as competing dramaturgical arrangements of the cityscape.The geographic framework of this dissertation aligns itself with a growing body of scholarship in the area of hemispheric studies. It takes seriously Latin America, Canada, and Quebec, as part of “America,” which Diana Taylor defines as a practice of contestation and constant remapping (1417-19). My chapters model a comparative urbanism approach called for by Jennifer Robinson, through which scholars are encouraged to “launch” concepts generated from specific case studies into wider conversations about cities throughout the world (20)
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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 | 0.000 | 0.001 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.004 |
| Science and technology studies | 0.012 | 0.006 |
| Scholarly communication | 0.007 | 0.003 |
| Open science | 0.001 | 0.003 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.017 | 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".