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--- |
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library_name: setfit |
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tags: |
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- setfit |
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- sentence-transformers |
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- text-classification |
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- generated_from_setfit_trainer |
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datasets: |
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- Kevinger/hub-report-dataset |
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metrics: |
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- accuracy |
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widget: |
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- text: 'A 16-acre property once home to the long-shuttered Foxborough State Hospital |
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will soon provide housing for 141 low-income senior households. |
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Walnut Street, an affordable housing project being developed by the Affordable |
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Housing Services Collaborative and Onyx, will turn land that has been vacant for |
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decades into much-needed affordable housing. |
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“Housing is empowering. No matter our age, it is a comfort not to worry about |
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whether we can afford a place,” Onyx CEO Chanda Smart said at a press conference |
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Thursday. “Senior housing for the town of Foxborough means that seniors who worked |
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and raised their families here in Foxborough still have the opportunity to remain |
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here.” |
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Foxborough State Hospital opened in 1889 as the Massachusetts Hospital for Dipsomaniacs |
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and Inebriates for treatment of alcoholism, according to the National Park Service, |
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and was later converted to a standard psychiatric hospital. It closed in 1975, |
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and parts of the property have already been redeveloped over the years. |
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The Foxborough Housing Authority first began working on the project back in 2011. |
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The land was transferred to the agency from the state in 2017 to be used for affordable |
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housing. |
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Acting Town Manager Paige Duncan told MassLive that the town held a number of |
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community meetings to decide what to build on the property. |
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“It was controversial, but what came out was a clear support for senior housing,” |
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she said. “We really tried to address the needs of the community and we came up |
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with a project that was sensitive to the area. We didn’t want a big block of buildings |
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that towered over the neighborhood.” |
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After that, she said, there was overwhelming support for the project. The permits |
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were filed in February and approved by April, an almost unheard-of timeline. |
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The finished project will provide 141 new apartments for residents age 55 and |
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over. Of those, 35 will be reserved for people making 30% or less of the area |
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median income, and 85 will be for those making 60% AMI. Foxborough residents will |
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be given preference for 70% of the units. |
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A second phase of the project once this one is complete will add approximately |
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60 more units. |
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Greg Spiers, chairman of the Housing Authority, said the new senior housing was |
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badly needed, noting there are about 5,500 elderly and disabled people on public |
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housing waiting lists in Massachusetts. |
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“With 195 of those on that list Foxborough residents, that 70% local preference |
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for first-time rentals is one of our goals,” he said. “The need is so great for |
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affordable housing in our area and the entire state.” |
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Housing and Livable Communities Secretary Ed Augustus praised the town for its |
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dedication to creating more affordable housing, even though more than 10% of its |
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total housing units qualify as affordable. The 10% threshold is the state requirement |
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to stop projects being filed under Chapter 40B, a law which allows affordable |
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housing developments to bypass certain local permitting requirements. |
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“You know that that is just an arbitrary number, but the real needs are significantly |
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more than that,” Augustus said. “We need more communities to take note of what |
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Foxborough is doing.” |
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Lt. Gov. Kim Driscoll said the project is a good example of the use of surplus |
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state land for housing. Gov. Maura Healey’s housing bond bill filed in October |
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included a proposed $30 million that would support similar projects to use underutilized |
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state property for housing. Healey also issued an executive order requesting state |
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agencies to conduct an audit of their property to find land any surplus land suitable |
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for this purpose. |
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“Converting state-owned land to another entity can be a little bit of a torturous |
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pathway. We know that building all the resources you need takes time,” Driscoll |
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said Thursday. “How do we leverage the cost of land, which is one of the reasons |
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housing is so expensive, to build the type of housing we need, but do it in a |
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shorter timetable? That’s what this (project) is all about.” |
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The project has received more than $25 million in state and federal funding, including |
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through American Rescue Plan Act rental funds and state and federal Low Income |
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Housing Tax Credits. Work on the site has not yet started.' |
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- text: 'WESTFIELD - The St. Mary’s High School boys basketball team may have just |
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found their secret weapon or at least one of them. |
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St. Mary’s guard-forward Patryk Lech scored 14 points, including three 3-pointers |
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to help the Saints stop a two-game slide and turn back Pioneer Valley Christian |
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Academy, 55-32, Wednesday night at Westfield Intermediate School.' |
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- text: 'WE’VE SEEN ACROSS OUR REGION. ONE AMBULANCE WE HAVE PROBABLY SIX VICTIMS |
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DOWN HERE. THE 911 CALLS COMING IN AROUND 220 THIS MORNING. BLACK SUV CAME UP, |
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FIRED ROUNDS, TOOK OFF A SHOOTING ON ESSEX STREET WHERE PEOPLE WERE CELEBRATING. |
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A FRIEND HEADING OFF TO COLLEGE. NOW, THIS STUFF IS UNFORTUNATE. I DIDN’T EXPECT |
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IT TO HAPPEN. I NEVER THOUGHT I WOULD GET THAT CALL. HIS BROTHER SAYING ABRAHAM |
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DIAZ IS ONE OF THE SEVEN PEOPLE SHOT. THE 25 YEAR OLD DIDN’T SURVIVE. HE’LL GO |
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TO THINGS LIKE THIS TO SHOW SUPPORT AND LOVE AND THAT’S WHAT THAT’S WHAT HE’S |
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ALL ABOUT. THE SIX OTHERS WERE RUSHED TO THE HOSPITAL. TWO IN CRITICAL CONDITION. |
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THERE’S MULTIPLE PEOPLE THAT WE KNOW PERSONALLY THAT WE HANG OUT WITH AND LAUGH |
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WITH THAT ARE RIGHT NOW IN THE HOSPITAL FIGHTING FOR THEIR LIVES. NOW INVESTIGATORS |
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ARE WORKING TO TRACK DOWN WHOEVER PULLED THE TRIGGER, SAYING VIOLENCE LIKE THIS |
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ISN’T UNIQUE TO. LYNN. IT’S NOT ONLY A PROBLEM IN OUR COMMUNITY, BUT IT’S BEEN |
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A PROBLEM IN MANY URBAN COMMUNITIES LAST WEEKEND IN BOSTON, TWO LARGE BRAWLS INVOLVING |
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TEENS AND KIDS AND A SHOOTING AT THE CARIBBEAN FESTIVAL THAT LEFT EIGHT HURT ENDED |
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WITH 17 PEOPLE ARRESTED, 14 OF WHOM ARE MINORS. NOW, AS LYNN POLICE INVESTIGATE, |
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SOME WHO LIVE HERE ARE QUESTIONING HOW SAFE ARE OUR COMMUNITIES. I HAVE A TWO |
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AND A HALF YEAR OLD BROTHER. I’M STARTING TO THINK LIKE AS A IS THIS A GOOD PLACE |
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TO RAISE HIM HERE? YOU KNOW, IT’S GETTING A LITTLE VIOLENT. LYNN POLICE SAY THEY |
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BELIEVE THIS SHOOTING WAS TARGETED. THEY SAY IT’LL TAKE THE WORK OF POLICE AS |
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WELL AS THE HELP OF THE COMMUNITY TO SOLVE THI |
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Advertisement 2 of 7 victims in Lynn shooting now dead, district attorney says |
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Share Copy Link Copy |
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Another man is dead in connection with a shooting that happened early Saturday |
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morning in Lynn, Massachusetts.Authorities announced Sunday that 21-year-old Jandriel |
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Heredia, of Revere, died of the injuries he suffered in the Essex Street shooting |
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that had already claimed the life of 25-year-old Abraham Diaz.The shooting, which |
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injured a total of seven people, was first reported to Lynn police at about 2:20 |
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a.m. Saturday.The Essex County District Attorney''s Office said that as of Sunday |
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night, there is no new information as to the condition of the five other shooting |
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victims. "This is a terrible act of violence," Essex County District Attorney |
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Paul Tucker said. "We do not believe this was a random act of violence."Tucker |
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said shots were fired from a vehicle."They were having some type of a social gathering," |
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the district attorney said. "This violence was put upon them in a terrible way.""The |
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people who did this are not in custody, and we want to make sure we do get them |
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into custody," Tucker added. "I just can''t believe it happened," said Brian Diaz, |
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brother of Abraham Diaz. "I''m still trying to process it.""My brother was a good |
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kid," Brian Diaz added. "He was just like me, giving back to kids, looking out |
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for kids, and ... just wanted to make sure everyone was all right."Brian said |
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Abraham was from Lynn. He said his brother was with a group celebrating a friend |
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who was heading off to college. "This is absolutely outrageous to have this level |
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of violence happen on our streets and in our neighborhood," Lynn Mayor Jared Nicholson |
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said at a news conference on Saturday morning. "It''s horrifying.""What everyone |
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experienced in this street and neighborhood, shouldn''t happen," Nicholson said.Several |
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multi-unit residential homes were located in the area of the shooting. "We believe |
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this incident was a targeted attack," Lynn police Chief Christopher Reddy said. |
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"We are committed to holding those accountable responsible for this senseless |
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act of violence."On Sunday, Tucker and Reddy said that a man was fatally shot |
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on Lincoln Street shortly after 11 p.m. Saturday. Authorities said that based |
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on their initial investigation, the shooting is not believed to be a random act |
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of violence.Anyone with any information about the shootings is asked to contact |
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Lynn police at 781-595-2000 or by texting a tip to 847411 (TIP411).The shootings |
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were being investigated by the Essex County District Attorney’s Office State Police |
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Detective Unit and detectives from the Lynn Police Department. Previous coverage:' |
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- text: 'Winter solstice greetings! The shortest day and longest night of year celebrates |
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the return of the light. Unfortunately, winter viruses are rampant during this |
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month of many celebrations. As predicted, COVID-19 cases are increasing along |
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with influenza, RSV, strep and many other respiratory illnesses. |
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The newest coronavirus subvariant, JN.1, is rapidly spreading and becoming the |
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most dominant variant. The World Health Organization has classified it as a “variant |
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of interest.” To be a variant of interest it must have genetic changes that impact |
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its characteristics and growing in a way that makes it a risk to global public |
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health. |
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To date there is no evidence of it causing more serious illness. The updated vaccine |
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appears to be active against JN.1. Symptoms are similar to previous strains. Worse |
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symptoms and outcomes are more dependent on a person’s immunity and overall health. |
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The CDC reports emergency room visits, hospitalizations and death rates for COVID-19 |
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cases are elevated nationally. In the Midwest emergency visits are increasing |
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to last year’s surge numbers.' |
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- text: 'In a culture with an unquenchable urge to trend-hunt and categorize, the |
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calendar might be the most arbitrary measure of all. So, I ’ m taking a pass on |
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writing a year-end best-of list. Instead, let’s call it things that stick. What |
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follows are five experiences still smouldering away in the back of my mind — good, |
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best, neither — months after I first saw them. |
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LESSONS OF THE HOUR, Wadsworth Atheneum |
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The great American abolitionist Frederick Douglass was the most photographed person |
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of his era, and not by coincidence. Douglass, a proto-scholar of image theory, |
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knew that the rapid rise of photography in postbellum America could be a powerful |
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tool to contend with American racism, and that if white Americans were to be moved |
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to hold their Black counterparts as equal, they would first need to see them as |
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such. “Lessons of the Hour” began that story by dramatic and affecting means: |
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Isaac Julien’s stirring “Lessons of the Hour,” 2019, a lush, five-channel video |
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portrayed the intensity and drama of Douglass’s oratory gifts, and his hunger |
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for equality. Then, it moved from tell to show, with scores of 19th-century photo |
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portraits of Black Americans, decked out in their best finery, who had taken Douglass’s |
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exhortations to heart. In the constant deluge of imagery, both moving and still, |
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that we live in today, Douglass appears eerily prescient. He urged Black Americans |
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to take active authorship of how they were perceived — an agency that’s now a |
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second-to-second strategy of a large chunk of the planet (under 40, at least) |
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through the frame of social media, a self-curation machine he could never have |
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conceived. The strategy he imagined in the service of high virtue — what else |
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to call the quest for equality? — has been coopted by every manner of vice. There’s |
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a metaphor here I don’t care to explore more deeply; it’s Wednesday night, I just |
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watched 5 minutes of the Republican debate, and that’s as depressed as I want |
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to get. More than anything, I wish Douglass were here — not to see how badly we’ve |
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gone wrong, but to help us find a way out. |
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Storage jar (detail), 1857. Dave (later recorded as David Drake), American, ca. |
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1801–1870s. Stony Bluff Manufactory (ca. 1848-67), Old Edgefield District, South |
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Carolina. Collection of Greenville County Museum of Art. Eileen Travell/© Metropolitan |
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Museum of Art/Collection of Greenville County Museum of Art |
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HEAR ME NOW: THE BLACK POTTERS OF OLD EDGEFIELD, SOUTH CAROLINA, Museum of Fine |
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Arts Boston |
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Advertisement |
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David Drake, or Dave the Potter, has become a posthumous art star in recent years |
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for the masterful works he made — outsize ceramic food storage jars that none |
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could match — and the story they embody. Born into enslavement, Drake worked at |
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one of the ceramic factories in antebellum Old Edgefield, South Carolina, where |
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jars were mass-produced and exported all over the South for household use. Drake, |
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who could read and write despite its prohibition among enslaved people, emblazoned |
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his works with aphoristic verse – unique transmissions of the enslaved experience |
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that traveled along with the workaday objects he inscribed. As documents, the |
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jars are remarkable primary-source accounts of a life lived in bondage; as art, |
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they embody the spirit and soul of a man whose cruel circumstances couldn’t snuff |
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his creativity and longing for human connection. “Hear Me Now” stays with me in |
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its clear-eyed intent to craft lineage across generations broken by bondage, and |
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to make that shattered story whole. Alongside Drake, and the countless anonymous |
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makers in the exhibition, were renowned contemporary artists Simone Leigh and |
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Theaster Gates, for whom ceramics, a medium forced on generations of Black makers |
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for profit they would never share, is their chosen medium — one with the imprint |
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of Black American cultural DNA. In many ways, their work is an extension of Drake’s |
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— reclaiming a material and process from the depravity of enslavement, and wholly |
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owning it for themselves. |
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Advertisement |
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A work by Henry Darger from the 2004 movie "In the Realms of the Unreal," directed |
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by Jessica Yu. |
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AMERICAN PERSPECTIVES, Portland Museum of Art |
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Advertisement |
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This show bothered me, but in the best way. Folk art, a catch-all of misfit otherness |
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— things that make art museums uncomfortable — has been the subject of much reconsideration |
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in recent years, making any show that dares to use the term as fascinating as |
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it is haphazard. “American Perspectives” put those dynamics in high relief, a |
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key art world debate unfolding in real time. It lumped artists like Henry Darger, |
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the Chicago hospital custodian who crafted his epic pictorial saga of the Vivian |
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Girls, heroes of an imagined child slave rebellion, alongside 19th-century handpainted |
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pharmacy signs and carousel horses. Let’s be clear: The product of a deeply examined |
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inner life is not equivalent to workaday craft, however masterful the latter. |
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Herein lies the evolving debate: Darger, who died in 1973, is now collected by |
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the Museum of Modern Art, among other tier-one institutions. So what was he — |
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and others like him — doing in this show? “American Perspectives” put folk art’s |
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work-in-progress definition right in front of our eyes. |
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Advertisement |
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Installation view, "Painted: Our Bodies, Hearts, and Village," Colby College Museum |
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of Art. Works shown, left to right: Ernest Blumenschein, "Untitled (Mountain Wood |
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Gatherers)," c. 1926; Virgil Ortiz, "Omtua," 2023; Tony Abeyta, "Citadel," 2021. |
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Stephen Davis Phillips |
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PAINTED: OUR BODIES, HEARTS, AND VILLAGE, Colby College Museum of Art |
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I remain awestruck by this exhibition, not only for the specific conversations |
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it provokes, but for the museum’s willingness to interrogate itself, and to find |
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its own answers lacking. In a field where “landmark” gets tossed around too easily, |
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this is the real deal. Colby had for years in its vaults a collection of paintings |
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by Taos Society of Artists, a group of white painters from the urban east who, |
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in the early part of the 20th century, relocated to New Mexico to cash in on the |
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growing fad for western Native American images. Their pictures were accomplished, |
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but tilt towards uncomfortable clichés of Indigenous people as a primitive, dying |
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race. The past century has affirmed the opposite: Pueblo and Diné communities |
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in the region have both preserved their artistic traditions and produced increasingly |
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vital contemporary art. Artists like Virgil Ortiz and Michael Namingha are among |
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many here to confront the mythmaking of white artists, a century ago, and speak |
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for themselves. Colby could have left the TSA paintings gathering dust in storage. |
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It did the opposite, and invited Indigenous curators to help it reconfigure a |
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clear-eyed re-telling of its own history in the context of the future the museum |
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intends to build. Note: The show continues until July 28. |
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THE EMBRACE, Hank Willis Thomas |
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Advertisement |
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I walked alongside “The Embrace,” by now the city’s most prominent public work |
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of art, from its beginnings; the day it was chosen from a field of five to memorialize |
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Coretta Scott King and Martin Luther King Jr. in 2019, I wrote that it was jarring, |
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in the best possible way. We’re used to memorials that ache with overwrought sincerity |
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— figures with hands to hearts, stoic gazes fixed on a faraway horizon. The Embrace’s |
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confounding tangle of arms and hands – an extraction of a moment between the couple |
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when Martin was awarded the Nobel Peace Prize in 1964— rejects all convention. |
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Instead, it emanates the complexity of mystery and, yes, confrontation. It invites |
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viewers into their own contemplation, rather than spoon-feeding them what to think |
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and feel. Looking back to when it arrived on Boston Common in January, you could |
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have guessed some reactions would shade towards ridicule (a bit by Leslie Jones |
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on The Daily Show, suggesting an intimate act, might have been the apex). And |
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social media, which by its nature divorces an object from its scale, material, |
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and context, reduces real experience to a snippet-sized meme. But for those of |
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us who have been there – who have walked into those arms, who have navigated that |
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knot of emotion, a relic of a tragic, complex time – know the experience itself |
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is irreducible. Being with it, literally, is the only way to understand it, which |
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to me makes all the sense in the world. “The Embrace,” in all its glory, is only |
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and forever for Boston, as it should be. |
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Murray Whyte can be reached at murray.whyte@globe.com. Follow him @TheMurrayWhyte.' |
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pipeline_tag: text-classification |
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inference: false |
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base_model: sentence-transformers/paraphrase-mpnet-base-v2 |
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model-index: |
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- name: SetFit with sentence-transformers/paraphrase-mpnet-base-v2 |
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results: |
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- task: |
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type: text-classification |
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name: Text Classification |
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dataset: |
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name: Kevinger/hub-report-dataset |
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type: Kevinger/hub-report-dataset |
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split: test |
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metrics: |
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- type: accuracy |
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value: 0.6273946360153256 |
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name: Accuracy |
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--- |
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# SetFit with sentence-transformers/paraphrase-mpnet-base-v2 |
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This is a [SetFit](https://github.com/huggingface/setfit) model trained on the [Kevinger/hub-report-dataset](https://huggingface.co/datasets/Kevinger/hub-report-dataset) dataset that can be used for Text Classification. This SetFit model uses [sentence-transformers/paraphrase-mpnet-base-v2](https://huggingface.co/sentence-transformers/paraphrase-mpnet-base-v2) as the Sentence Transformer embedding model. A OneVsRestClassifier instance is used for classification. |
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The model has been trained using an efficient few-shot learning technique that involves: |
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1. Fine-tuning a [Sentence Transformer](https://www.sbert.net) with contrastive learning. |
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2. Training a classification head with features from the fine-tuned Sentence Transformer. |
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## Model Details |
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### Model Description |
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- **Model Type:** SetFit |
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- **Sentence Transformer body:** [sentence-transformers/paraphrase-mpnet-base-v2](https://huggingface.co/sentence-transformers/paraphrase-mpnet-base-v2) |
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- **Classification head:** a OneVsRestClassifier instance |
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- **Maximum Sequence Length:** 512 tokens |
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<!-- - **Number of Classes:** Unknown --> |
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- **Training Dataset:** [Kevinger/hub-report-dataset](https://huggingface.co/datasets/Kevinger/hub-report-dataset) |
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<!-- - **Language:** Unknown --> |
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<!-- - **License:** Unknown --> |
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### Model Sources |
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- **Repository:** [SetFit on GitHub](https://github.com/huggingface/setfit) |
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- **Paper:** [Efficient Few-Shot Learning Without Prompts](https://arxiv.org/abs/2209.11055) |
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- **Blogpost:** [SetFit: Efficient Few-Shot Learning Without Prompts](https://huggingface.co/blog/setfit) |
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## Evaluation |
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### Metrics |
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| Label | Accuracy | |
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|:--------|:---------| |
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| **all** | 0.6274 | |
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## Uses |
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### Direct Use for Inference |
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First install the SetFit library: |
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```bash |
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pip install setfit |
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``` |
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Then you can load this model and run inference. |
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```python |
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from setfit import SetFitModel |
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# Download from the 🤗 Hub |
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model = SetFitModel.from_pretrained("Kevinger/setfit-hub-multilabel-example") |
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# Run inference |
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preds = model("WESTFIELD - The St. Mary’s High School boys basketball team may have just found their secret weapon or at least one of them. |
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St. Mary’s guard-forward Patryk Lech scored 14 points, including three 3-pointers to help the Saints stop a two-game slide and turn back Pioneer Valley Christian Academy, 55-32, Wednesday night at Westfield Intermediate School.") |
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``` |
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<!-- |
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### Downstream Use |
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*List how someone could finetune this model on their own dataset.* |
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--> |
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<!-- |
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### Out-of-Scope Use |
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*List how the model may foreseeably be misused and address what users ought not to do with the model.* |
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--> |
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<!-- |
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## Bias, Risks and Limitations |
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*What are the known or foreseeable issues stemming from this model? You could also flag here known failure cases or weaknesses of the model.* |
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--> |
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<!-- |
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### Recommendations |
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*What are recommendations with respect to the foreseeable issues? For example, filtering explicit content.* |
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--> |
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## Training Details |
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### Training Set Metrics |
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| Training set | Min | Median | Max | |
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|:-------------|:----|:---------|:-----| |
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| Word count | 53 | 387.1406 | 1237 | |
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### Training Hyperparameters |
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- batch_size: (8, 8) |
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- num_epochs: (1, 1) |
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- max_steps: -1 |
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- sampling_strategy: oversampling |
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- num_iterations: 50 |
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- body_learning_rate: (2e-05, 2e-05) |
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- head_learning_rate: 2e-05 |
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- loss: CosineSimilarityLoss |
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- distance_metric: cosine_distance |
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- margin: 0.25 |
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- end_to_end: False |
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- use_amp: False |
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- warmup_proportion: 0.1 |
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- seed: 42 |
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- eval_max_steps: -1 |
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- load_best_model_at_end: False |
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### Training Results |
|
| Epoch | Step | Training Loss | Validation Loss | |
|
|:------:|:----:|:-------------:|:---------------:| |
|
| 0.0013 | 1 | 0.1576 | - | |
|
| 0.0625 | 50 | 0.1332 | - | |
|
| 0.125 | 100 | 0.0118 | - | |
|
| 0.1875 | 150 | 0.0009 | - | |
|
| 0.25 | 200 | 0.0008 | - | |
|
| 0.3125 | 250 | 0.0002 | - | |
|
| 0.375 | 300 | 0.0003 | - | |
|
| 0.4375 | 350 | 0.0002 | - | |
|
| 0.5 | 400 | 0.0005 | - | |
|
| 0.5625 | 450 | 0.0001 | - | |
|
| 0.625 | 500 | 0.0001 | - | |
|
| 0.6875 | 550 | 0.0001 | - | |
|
| 0.75 | 600 | 0.0002 | - | |
|
| 0.8125 | 650 | 0.0004 | - | |
|
| 0.875 | 700 | 0.0002 | - | |
|
| 0.9375 | 750 | 0.0001 | - | |
|
| 1.0 | 800 | 0.0001 | - | |
|
|
|
### Framework Versions |
|
- Python: 3.10.12 |
|
- SetFit: 1.0.3 |
|
- Sentence Transformers: 2.3.1 |
|
- Transformers: 4.35.2 |
|
- PyTorch: 2.1.0+cu121 |
|
- Datasets: 2.16.1 |
|
- Tokenizers: 0.15.1 |
|
|
|
## Citation |
|
|
|
### BibTeX |
|
```bibtex |
|
@article{https://doi.org/10.48550/arxiv.2209.11055, |
|
doi = {10.48550/ARXIV.2209.11055}, |
|
url = {https://arxiv.org/abs/2209.11055}, |
|
author = {Tunstall, Lewis and Reimers, Nils and Jo, Unso Eun Seo and Bates, Luke and Korat, Daniel and Wasserblat, Moshe and Pereg, Oren}, |
|
keywords = {Computation and Language (cs.CL), FOS: Computer and information sciences, FOS: Computer and information sciences}, |
|
title = {Efficient Few-Shot Learning Without Prompts}, |
|
publisher = {arXiv}, |
|
year = {2022}, |
|
copyright = {Creative Commons Attribution 4.0 International} |
|
} |
|
``` |
|
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