Bibliographic record
Abstract
[First paragraph] Auto/Pathographies offers a unique perspective on the subject of illness and the body by departing from tendencies to gaze and quickly consume diseased bodies as sites of spectacle, heroic suffering, and victory. Rather, the intention presented here is to activate in the observer a sense of corporality and existential engagement in relation to the unique processes of living, enacting, and even dying through illness and disease. As the cover image of this catalogue suggests, a good portion of the exhibition is devoted to the art and life of British photographer Jo Spence (1934 - 1992) and the body of work, which she created surrounding her own fight with breast cancer. This includes rarely seen works by Spence including photographs from The Final Project (1991-1992). The exhibition, which this catalogue documents, is the product of two residences undertaken by author Tamar Tembeck beginning in 2008 at the artist-run centre OBORO in Montreal, and a residence - based International Fellowship Program for Art and Theory at Künstlerhaus Büchsenhausen at Innsbruck, Austria, in 2009. That same year, Tembeck also curated the exhibition "Auto/Pathographies" in Innsbruck's Kunstpavillion. This was further expanded upon in the 2012 exhibition back at OBORO in Montreal. In total, the work of ten artists were curated for this exhibition including: Susan B. Markisz, Pam Patterson, Pascal Dufaux, Chantal duPont, Carl Bouchard, Christina Lammer, Terry Dennett, Angela Ellsworth, and Tina Takemoto. Moreover, it is through the work of such artists that Tembeck finds the idea of representing disease in the first person, which she titles "autopathography," as both complicated and enriched by these artist's approaches, who engage individually and/or through collaborative practices, between artists and medical personnel, family and loved ones, as well as with other artists. As Tembeck notes, while we may confront our own sickness and mortality as an individual, we rarely undergo such experiences in insolation, thus the expansion of the term autopathography into Auto/pathographies, which takes into account individual and collaborative experience and practice (8).
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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 | 0.002 | 0.006 |
| Meta-epidemiology (narrow) | 0.001 | 0.001 |
| Meta-epidemiology (broad) | 0.001 | 0.001 |
| Bibliometrics | 0.011 | 0.012 |
| Science and technology studies | 0.002 | 0.002 |
| Scholarly communication | 0.006 | 0.006 |
| Open science | 0.002 | 0.002 |
| Research integrity | 0.002 | 0.003 |
| Insufficient payload (model declined to judge) | 0.041 | 0.032 |
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".